"Younger players in this music often turn out to be middle aged; it is not a young music"
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Bailey’s line lands like a dry rimshot: a scene that markets itself as perpetually new is, in practice, populated by people who’ve already lived through the hard part. “Young music” is supposed to mean fresh blood, speed, trend churn, the sensation that you’re catching something before it calcifies. Free improvisation, Bailey implies, doesn’t run on that fuel. It demands time - not just to learn an instrument, but to unlearn the reflexes that make you sound competent, employable, genre-safe.
The sting is in the phrasing “often turn out to be middle aged,” which reads less like a demographic report than a corrective to romantic mythmaking. Improvised music, especially in Bailey’s orbit, resists the usual pipeline: youth culture discovers a sound, scenes form, labels package it, then the market crowns a new generation. Here the “younger players” are younger only relative to the elders; the entry point arrives after years of private obsession, awkward gigs, and a long apprenticeship in listening.
There’s also a subtle defense embedded in the cynicism. If this isn’t “a young music,” it’s not because it’s stale; it’s because it refuses the shortcuts that youth industries reward. Bailey, who spent decades operating on the margins of jazz and rock economies, is pointing at a different kind of virtuosity: maturity as an aesthetic method. The context is a tradition that’s anti-tradition - a practice where the real credential is endurance, and the “new” is something you earn slowly.
The sting is in the phrasing “often turn out to be middle aged,” which reads less like a demographic report than a corrective to romantic mythmaking. Improvised music, especially in Bailey’s orbit, resists the usual pipeline: youth culture discovers a sound, scenes form, labels package it, then the market crowns a new generation. Here the “younger players” are younger only relative to the elders; the entry point arrives after years of private obsession, awkward gigs, and a long apprenticeship in listening.
There’s also a subtle defense embedded in the cynicism. If this isn’t “a young music,” it’s not because it’s stale; it’s because it refuses the shortcuts that youth industries reward. Bailey, who spent decades operating on the margins of jazz and rock economies, is pointing at a different kind of virtuosity: maturity as an aesthetic method. The context is a tradition that’s anti-tradition - a practice where the real credential is endurance, and the “new” is something you earn slowly.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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